quote by Minnie Maddern Fiske

This...is an age of specialization, and in such an age the repertory theater is an anachronism, a ludicrous anachronism.

— Minnie Maddern Fiske

Joyful Repertory quotations

Each writer is born with a repertory company in his head.

Shakespeare has perhaps 20 players. ... I have 10 or so, and thats a lot. As you get older, you become more skillful at casting them.

Then I left school at 16 and worked in Perth Repertory Theatre, which was quite nearby where I lived. And I worked there for about six or seven months, as part of the stage crew.

...consumers do not buy one brand of soap, or coffee, or detergent. They have a repertory of four or five brands, and move from one to another. They almost never buy a brand which has not been admitted to their repertory during its first year on the market.

I have no qualm about the quality of the contemporary repertory.

Each writer is born with a repertory company in his head.

But a large symphony orchestra basically is a repertory company and it has a very enormous repertoire and it is important for the performers to be able to know how to shift focus so that they instantly become part of the sound world that a particular repertoire demands.

I applied to American Repertory School up at Harvard at got in.

Beware 'good' main characters who have a limited repertory of culturally acceptable feelings, while your evil bastards have a full range of vivid, passionate feelings.

NYU Film School was the way to learn about film, to be exposed to film, to go to repertory houses, to be exposed to New York and see films. I would go to the library and see one, two or three movies a day.

Running my show is really like an actor being in repertory but where, in one day in one performance, you do scenes from a drama, a farce, a low comedy and a tragedy.

Peter Hall was just organizing the Royal Shakespeare Company.

It was going to be an ensemble, it was going to be in repertory, it was going to have a home in London as well as in the Midlands, and all of those things were happening at that time.

I was in the movies. I danced, I sang, I learned to work in front of a camera. It was like being in a repertory company.

Each writer is born with a repertory company in his head.

Shakespeare has perhaps twenty players, and Tennessee Williams has about five, and Samuel Beckett one - and maybe a clone of that one. I have ten or so, and that's a lot. As you get older, you become more skillful at casting them.

The act of smelling something, anything, is remarkably like the act of thinking.

Immediately at the moment of perception, you can feel the mind going to work, sending the odor around from place to place, setting off complex repertories through the brain, polling one center after another for signs of re recognition, for old memories and old connection.

This is an age of specialization, and in such an age the repertory theater is an anachronism, a ludicrous anachronism.

Those 25 dancers we worked with for a day, in as highly productive a way as possible - a long class, a period of teaching bits of the repertory - in fact I didn't teach Bank, I've used parts of Oil and Water.

I came out of repertory theater, where I worked 50 weeks a year, and I loved working with the people.

I like variety, which is frustrating.

But I've always been picky. I was afraid Pirates would be too much like Twentieth Century, broad comedy. But my agent talked me into it. I was spoiled by the range of a repertory theater.

I grew up in a theater family. My father was a regional theater classical repertory producer. He created Shakespeare festivals. He produced all of Shakespeare's plays, mostly in Shakespeare festivals in Ohio. One of them, the Great Lakes Theater Festival in Cleveland, is still going. So I grew up not wanting to be an actor, not wanting to go into the family business.

I don't know why people always compare me [ with Amiri Baraka] I was never part of the Black Arts Repertory Theater or the Black Arts Movement; people who claim that I was are wrong. I was downtown. I was living in Chelsea when they were operating in Harlem.

You go through your career and you find people and cast who you love and you go through and keep them and you never want to let them go because you have a great repertory with them.

I was a repertory actor, which meant that I did a play every week.

I was a different character every week; for a year, I was doing 40 or 50 characters.

I grew up in repertory theaters, so it was comedy one night, drama the next.

I'm used to going from one to the other. And I worked for years in television as well. So, I like the interrelationship of it and having a good relationship with a group of artists creating something really where the sum is greater than all of our individual contributions, our parts.

Well oddly enough, I liken the years at MGM, and I was there for about eight years, to doing stock, what we used to call repertory or stock, playing a whole bunch of different roles.

I always keep my repertorial hat on.

Having that college-town atmosphere with a live repertory company available was a real gift. I found myself gravitating toward the theater from about the age of nine. I guess it was the environment that got me started.

In film you have the script months ahead of time often, for a good film, but in television it seems like you might not get the script until a week or two weeks before you've got to film it. It's a little weird, but also quite challenging. It reminds me of repertory theatre.

I've written about a lot of different things, but the whole idea of writing for another character is unusual for pop music... Most of the repertory is love songs, and most of mine isn't. I don't know if that's a mental defect, or shyness, or what.

I also try to surround myself with people I love - make a family out of the company. So I tend to use the same people over and over. There's a sort of Mel Brooks Repertory Company.

Music is an ocean, but the repertory is hardly even a lake; it is a pond.

I feel so sorry for younger actors who aren't able to have the opportunities that I had, starting out in repertory theatre. It's really tough on young actors now.

You have to begin to develop a repertory of jokes, multi-plane spiritual jokes, the sort of things the Zen masters tell each other when they're asleep. These are the secret teachings.

I went to a lot of theatre schools, got a lot of training, did a lot of repertory where you do a different play every night. I took a lot of voice, movement, and acting classes.

I'm beginning to see that just knowing the piece is not enough.

Having a clear technique is not enough. Having a broad repertory is not enough. I want desperately to get past all those things.

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